Kate Bush's 'Hounds of Love' was perhaps THE album of this year. This was on cassette tape at the time, which was potentially an issue as you needed to rewind and wind the tape to get to a particular track when playing it in the car, although it was such a good album that there was no need really. This got a lot of plays in my friend Caroline's car which I spent a lot of time in that summer. This was the year I graduated from Huddersfield Polytechnic with a 2:1 in geography - close to a first but noone got a first in that particular year. I went to Huddersfield City Hall to collect my degree certificate.
The album included some classic Kate Bush tracks. The song 'Cloudbusting' was particularly interesting as it had a video with Donald Sutherland in it.
It was based on the experiments of Wilhelm Reich.
The track which most people remember from that album though is one that was popularised by the TV series 'Stranger Things'.
Another female musician released an album this year which was produced by ZTT.
'Slave to the Rhythm' starts with Grace explaining her family heritage. The final track on the album draws the themes together.
It was produced by Trevor Horn - who has worked with many bands and musicians including Frankie goes to Hollywood and Mike Oldfield, and was involved with the ZTT record label I have blogged about separately.
Rush released 'Power Windows'. This was an album I came back to year after year and is probably in my top ten most played. I have written a separate blog post about the album. This used to accompany me up and down the A17 when I first started teaching in Norfolk, but came back home to Yorkshire for most weekends.
A final album from this year was Propaganda's 'A Secret Wish. This was another ZTT album and the production was excellent. I've blogged about this album separately as well, and also the label.
Here's the track 'P-Machinery'.
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Mike Oldfield also released a track called 'Pictures in the Dark'. This was not from a particular album.
He played with a great many of my favourite musicians.
The first time I saw him I was completely blown away by his style and sound. This was a concert with the Jan Garbarek Group performing 'Molde Canticle' from 'I took up the Runes' at the Cambridge Corn Exchange.
I then saw him around a half dozen other times with the Jan Garbarek Group, including a concert at the St. Andrews Hall in Norwich, where I had front row seats.
One night in Norwich I also went to see him play a solo concert at the Norwich Arts Centre. He said quite a bit between the music that he played expressing thanks and surprise that people would come out to watch him "playing with himself".
This was a reference to the echo and delay unit that he used to layer up sounds and create some wonderful effects and tunes.
He started out working with other musicians, and recorded several solo albums too.
He also played with the Colours Quartet and recorded several albums, which had Lyle Mays as one of the players too.
Here's an early performance.
A tribute concert was held in Stuttgart in 2015.
It was released as an ECM album called 'Hommage a Eberhard Weber' - I have a copy of that album.
Musicians playing were: Gary Burton, Pat Metheny, Scott Colley, Danny Gottlieb, SWR Big Band, Helge Sunde.
Weber's latest albums, Résumé (2012) and Encore (2015) comprise solos from his performances worldwide with The Jan Garbarek Group, overdubbed with keyboards/treatments by Weber, saxophone by Garbarek, and flügelhorn by Ack Van Rooyen.
This included a long piece which was written by Pat Metheny.
This was recorded with musicians in front of a screen which showed some of his solo work.
She called me once when I was in Hamburg. I couldn’t even believe it was her. The hotel had a message from Kate Bush and I called her back. She told me she loved ECM music in general and my music in particular. She wanted me to participate in one of her albums. She sent me a tape of the two tracks she wanted me to play on and asked me to think about countermelodies. So I did that and flew to London where she lived. I thought it would be like the jazz people I work with and that within two hours, the first tune is done and within another hour, the second tune is done.
No. It’s very different, which I learned in this, my first appearance in the pop world. They checked every note—everything, everything, everything. The first tune took six to eight hours. The second one the same. It explained to me why these pop people take so long to produce their albums. They never decide right away what to do. So when I came up with some ideas they said “yes, yes, let’s record it to 48 tracks.” Then I’d have another idea and again, it would be “yes, yes, yes, let’s do it this way.” I recorded dozens of ideas and in the end, only one was accepted. These people have the attitude that it’s only later when they mix that they decide. This is very unusual compared to the older ECM productions in the '70s when I started.
Making a record only took three days: two days of recording and one day of mixing.
Only later on when it became more complicated with synths and such did it take longer.
But pop people take six months or even longer to make a record."
